Lisa Sieverts wrote:
"Thus, in a complex algorithm that defies explanation, I'll take a
dance for almost no money if I know the music will be great, or
someone is going to feed and house me nicely, or it's a beautiful
hall and a neat community dance that just needs a nudge to keep
going. Otherwise, I look for a $75 minimum."
Whoof! Around Los Angeles, at almost all of the dozen different contra
series, the caller's take is usually somewhere between $20 and $50, sometimes a
little higher or lower. Big venues are significantly higher, as they are in New
England. I'm curious how different this is for different parts of the country
(excluding large venues) -- I've noticed that when I call in Massachusetts, even
the small venues seem to generally offer substantially higher guarantees to
the caller than the small venues in southern CA.
Lisa adds:
"driving hundreds of miles for dozens of dollars"
I love that saying! I remember hearing Joseph Pimentel say it as "for tens of
dollars." I'll take the dozens.
Best,
Jeremy Korr
Chris started us off by noting "the question has come up about what my minimum
fee is for calling."
Lisa gave a list of many items to consider when deciding whether to select a gig
and what to charge. My rule simplifies that-- I call for love or for money.
A city I want to visit, a dance community I enjoy, musicians I love to be
around, an opportunity to appear in a different part of the country, a good
cause-- all these tip the scale toward the first category. If I end up getting
paid, so much the better, but if I don't, I'll still be happy for these other
reasons. A wedding gig for folks I don't know, in a distant location or nearby
in a fancy location with an upscale caterer... that's a money gig and I charge
enough to pay myself and the musicians well. (After all, they're often the same
people who volunteer their time for the other events!)
In general, I find that when I follow my rule-- and we all know how hard that
is-- I come away content. It's those messy middle areas that cause the
problems.
I came up with the rule many years ago after finding myself dissatisfied with a
common situation-- driving an hour and a half, get to a gig early to set up the
PA, work hard for the evening, take down the PA and haul it back to the car,
wait while the organizers were still talking to people and tallying up the
money, and being handed $40 for the evening.
The complicating factor in your case, Chris, and an issue for other callers in
your situation, is that you want the gigs-- you want to gain experience working
with different crowds, you want an opportunity to try out new material (or to
hone older material.) You also want to become known, to give people in far-flung
locations a chance to get to know you and to see what you can do. And in some
sense, you're willing to subsidize an event-- e.g., by charging less-- in order
to get that exposure.
Bottom line, I think, is that you should ask enough so that, balancing all those
factors, you will come away from the event feeling good about having been there.
David Millstone
Hello all!
As more gigs are coming my way (thank you very much to everyone who is
recommending me!!!), the question has come up about what my minimum fee
is for calling. So far I haven't had a minimum because I really want the
experience ("Flight Time" as Joseph Pinmentel calls it). However, with
gas prices the way they are, the latest one I asked for a minimum that
would cover the gas (200 mi. each way).
How do you determine what your minimum is, and what amount would make
calling a dance worthwhile for you?
Thanks!
Chris
http://www.fortytwo.ws/~weiler/caller/
I would completely agree with Bob. My friend Lisa has and continues to
instill in me the idea that the caller is there for the dancers. A good
program is key, knowing your dancers are key, but there is always the
unknown when you are walking into the a new place.
Last month, I called a dance in Gorham, New Hampshire. After talking with a
couple people including the dance organizer, I though I had a good idea what
the dance was going to be like, and what the dancers would enjoy. The dance
turned out to be very small that evening, between 6 and 8 people (not a
typical night). Of course I had prepared a program, but had counted on more
people then that... Doing contra dances with 2 minor sets can be hard to
say the least, so we didn't do any... It was a fun night of circle dances,
triple-minors, and whatever else we wanted to do... Some polkas, etc. So
flexibility is also key...
When the night was over, everyone had a great time. They had fun, and that
was all that was important to me. It no doubt was a huge learning
experience for me, one that I will remember for a long time. People seem to
dance for a lot of different reasons, but I like the answer that my friend
Bob McQuillien said, I like the best, "because it's fun!". Enough said
about that...
Having a favorite dance... that's fun... We all have them, (and in no way
am I am suggesting program a dance with just your favorites.)
Jeff
Hey Everyone!!!
Seems like there hasn't been too much activity... So anway, I think dance
collecting could possibly become a full time job. There are just so many
different and new dances that are out there...
And of course there are books and books and books, which are great, but there
are a lot of great dances out there that just haven't been published... If
only there were this huge contra dance composition online exchange...
But of course there is a lot of tradition and fun from passing dance to dance
from dance to dance.
I am always looking for new dances to add to my "contra dance composition
journal", so just a question to everyone, what is your favorite dance to call
and what is your favorite dance to dance...
To dance for me, I think that is very easy... No doubt being a Nelson Dancer
I am very bias and I love dancing "Chorus Jig". Nelson is where I first
learned to dance Chorus Jig, where I first learned to call Chorus Jig, and
Nelson is where I learned to love Chorus Jig.
To call for me, that is not such an easy answer... There are some many dances
I love to call, and dances that I know back and forth, forward and back, but
for some reason, everytime I try to call them, they just don't feel quite
right...
I think if I had to pick a dance to call, as a caller, a "go-to-dance", I
would say "Trip To Lamberville" by Steve Zakon-Anderson
A1:
(8) Ladies into the center to a wave and balance
(8) Gents into the center to a wave and balance
A2:
(8) Gents allemende left 3/4 to a wave across and balance
(8) Neighbors swing
B1:
(8) Gents allemende left 1 1/2
(8) Partners swing
B2:
(8) Right and left through
(8) Ladies chain
I really love this dance and it is has become a quick modern classic I
believe. I remember when I first called this dance at Nelson, I was
horrible... Not that I hadn't call before, or hadn't called well, but I just
could not find my flow with this dance... But I kept on trying... I think it
wasn't till half a dozen times calling this dance, did I even begin to find
the flow... And now, it is a favorite dance to call...
Thanks,
Jeff
Hey Everyone!!!
Just wondering if anyone knows the name and author of this dance... I think
it is an older dance, and was danced early in the evening in Greenfield, MA on
Saturday night...
Proper Formation
A1:
(8) Active couples down the ouside
(8) Acitve couples return and crossover
A2:
(8) Circle left
(8) Circle right
B1:
(16) Neighbors balance and swing
I think B2 is this:
(8) Long lines forward and back
(8) Active couples swing (end facing up)
As always thanks for your help... And any other easy dances for new dancers
that you would recommend would be great... Thanks
Jeff
Hello everyone!
Jeff asked me this question off-list and I thought it was worth sending
to everyone (with his permission). Does anyone else have some advice for
Jeff? His original question is at the bottom.
Chris
http://www.fortytwo.ws/~weiler/caller/
Chris Weiler wrote:
> Hi Jeff,
>
> Sorry it has taken so long to get back to you. I just spent a week at
> Pinewoods enjoying American Dance and Music Week and taking the Square
> Dance Callers Course from Kathy Anderson. What a blast!
>
> I started calling last summer. I took a contra callers workshop from
> Tom Hinds and called my first dance in front of a crowd that
> week.Considering that I have only been calling for 11 months, I am
> doing very well about getting my name out there and getting gigs. Here
> are some thoughts about why that is:
>
> - Drive: I have been practicing on my own, going to every open mic.
> that I can, taking every callers workshop at the festivals I go to. It
> shows in my calling. I ask experienced callers questions and make sure
> that I take careful consideration of what they have to say. I am
> constantly looking to improve my calling through feedback, taping
> myself and practice.
>
> - Networking: At festivals and dances, I make a point to introduce
> myself to other callers and socialize with them. I keep in touch with
> several through direct e-mail and SharedWeight. This keeps me in their
> minds. The experienced callers are "plugged in" to the network of
> people who make these dances happen. Several of the dances that I have
> done are because callers have recommended me to fill in for someone
> who can't do the gig. After that, word will spread (if you do a good
> job!). This may sound calculating, but the reality is that it's a lot
> of fun. 8^) The callers that I took the workshop with are a great
> bunch and we had a great time talking, laughing and goofing around.
> Twice we got a bunch of us in the lake and had a water square. Lots of
> laughing, smiling and singing "because, just because".
>
> I hope this helps you. Feel free to ask questions like this to the
> list. There are plenty of callers there who had to make their own
> start and will tell you how it happened. If you give me permission, I
> would like to post this to the list .
>
> Hope your summer is going well! I'll be moving to Goffstown, NH in a
> couple of weeks, and hope to get to Nelson more soon! I have some
> squares I want to try! 8^)
>
> Chris
>
>
> Jeffrey M.Petrovitch wrote:
>
>> Chris:
>>
>> Just wondering if you could offer me some insight... I was wondering
>> how long
>> you have been calling for and how long did it take for you to get
>> your first
>> gig? How did you get your name out there?
>>
>> As a new caller, I have actually only started to learn how to call
>> about seven
>> months ago, but since then have found my way into the my normal
>> Nelson slot of
>> two or three dances a week, and I just booked my first gig coming up in
>> August.
>>
>> I am always looking for more calling opportunities, and wondering how
>> you
>> approached it.
>>
>> Thanks,
>>
>> Jeff
>>
>>
>> Jeffrey M. Petrovitch
>>
>> jeffrey.m.petrovitch(a)usa.net
>>
>>
Hello Everyone,
There was a lunch time lecture at my work (Hewlett - Packard) on Voice
Dynamics. Unfortunately, I was not able to attend, however, they posted the
following notes. I think it's relevant for callers. They are having a 1/2 day
seminar in August (at work) which I hope to attend. I may also sign up for the
evening class as I think the use of voice (and care of) is extremely important
for callers. I left in the credits for the author, out of respect for her
work. She is located in Northern California.
Also, when I was at NEFFA this past Spring (what a blast!).... I met with my
two Aunts who live outside of Boston. They are professional singers (~30
years) and have toured all over the world. They gave me a 1.5 hrs "voice
lesson", including excercises to do, and have also taught the information below
professionally. I am considering submitting this topic and asking my aunts to
teach a workshop at NEFFA next year, if there is any interest in the topic....
(any interest?)....
If there is interest, I will also post the notes from the August class, if I
attend....
Enjoy and take care of those vocal cords!
Karen Fontana
================================================
Class in Voice Dynamics from Carolyn Franklin:
Starts in Oct. on 10 for 3 weeks on Monday nights and
Wed nights 6:00 - 9:00. The class is listed at DeAnza
but located at Foothill. They are the same campus.
Private lessons. $65.00 per hour
phone number: 408-737-2151.
-------------------------------------------------
VOICE DYNAMICS
CAROLYN FRANKLIN, M.A.
A QUICK AND EASY WAY TO A BETTER SOUNDING VOICE
COPYRIGHT 1996 by Carolyn Franklin
ccvoicedynamics(a)cs.com
All Rights Reserved. No duplication Without Permission
This WORKSHOP is designed to:
1. Make a better impression on others. No matter
how well-dressed or educated you may be, your
style of speaking and quality of voice may inhibit
or enhance a first impression.
2. Increase the suppleness of your voice. You will be
able to talk longer and easier, not tiring. You will have
more range of pitch, volume and mood.
3. Increase your self-confidence. A firm, well-supported
voice is a great asset in communication. Correct use of your voice will
reduce incidence of interruption.
4. Entertain your listeners. Hold their attention and win their
confidence.
5. Teach you to "breathe"; increase your lung capacity for a healthier
you and increase your ability to control your voice.
6. Find out the "right" voice for you; one that best suits your
personal and professional needs.
7. Give you a range of "voices" to use for specific needs:
professional, business-like, friendly, confident or persuasive.
8. Be taken seriously when you speak.
BASIC PREPARATION FOR TALKING: "THE 3 ABSOLUTES"
RELAX You cannot make a good quality sound if you are
at all tense. The body MUST be relaxed so the
breath can flow freely through the "sound system".
The only part of the body that "works" is the
diaphragm; the rest of you is RELAXED.
BREATHE: Since the sounds (vowels) ride on the energy of air, breath, it
is critical to breathe correctly. That is, deep breathing from the
diaphragm.
WATER Drink plenty of water as it lubricates the body and keeps the
voice supple. NO OTHER DRINK is a substitute for WATER.
DAILY EXERCISES CAUTION: only do these exercises when you have no colds,
allergies or clogged sinuses.
"SOUND SYSTEM" is what I call the diaphragm, lungs, trachea, larynx
mouth, tongue and sinuses. When you speak, the
entire "sound system" is in operation mode.
RELAX: Mentally send messages to your muscles: chin, back, throat,
neck, shoulders and face to loosen up, let go and relax.
BREATHE: Shoulders DOWN, do NOT use the shoulders to breathe. Inhale
SL-OW-LY, hold the breath briefly, and them exhale SL-OW-LY.
This technique increases lung capacity and tightens the
diaphragm.
HM-M-M "Half-yawn". Open the back throat as in an unfinished yawn,
keep the tongue down flat, close your mouth and inhale. Push the
sound "H" hard through your nose, then add the M-M-M and
push the "M" also through your nose. Done correctly your nose
and head should vibrate. This exercises tightens the diaphragm
and opens the sinuses which create depth and richness to the voice.
CHIN WOBBLE: Open your mouth and RELAX it; push the chin down as far as
you can several times, then push the chin sideways as far as you
can several times. This will keep your mouth and chin supple.
PANT: Simultaneously inhale and pull the diaphragm "IN" as hard as you
can and as fast as you can. Then, push hard with breath saying "HUH"
simultaneously exhaling as hard and fast as you can. Do this
several times. It strengthens the diaphragm.
Thank You,
Hewlett-Packard Asian Pacific Employee Network.
(the organization that sponsored the event).
karen_fontana(a)yahoo.com
H650-691-9663
I have some questions for callers. Now that it's hot, I wanted to know if
callers think it's a good idea to call a less active program when the
temperatures are high? I'd like to suggest that some moves require more
expenditure of energy than other moves. So, my second question is, do you have
any dances that are active but at the same time don't drain the energy from the
dancers? Would you share these dances?
callers-request(a)sharedweight.net wrote:
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> Today's Topics:
>
> 1. Re: Cordless handheld microphones (Chris Weiler)
>
> ----------------------------------------------------------------------
>
> Message: 1
> Date: Sat, 23 Jul 2005 11:17:20 -0400
> From: Chris Weiler <chris.weiler(a)weirdtable.org>
> Subject: Re: [Callers] Cordless handheld microphones
> To: callers(a)sharedweight.net
> Message-ID: <42E25F80.5020709(a)weirdtable.org>
> Content-Type: text/plain; charset=ISO-8859-1; format=flowed
>
> I did my research, both online and at the Shure website. I decided to
> get the PGX24/Beta 58A set. It retails for $638, but almost everyone on
> the web is selling it for $449. With some serious hunting, I found one
> site that is selling it for $349 with free shipping. Not even eBay could
> match that.
>
> A few more gigs (A couple of which are already scheduled) and I'll be there!
>
> Off to Pinewoods! See some of you there!
>
> Chris
>
> http://www.fortytwo.ws/~weiler/caller
>
> Chris Weiler wrote:
>
> > Hi all,
> >
> > I have been thinking about getting a handheld cordless microphone and
> > was wondering which ones were the best for calling and why.
> >
> > I am looking to get prices. I have decided that when I earn (gross,
> > not net) the price of the microphone from calling, that I'll be ready
> > for one. (Or maybe not, but it works as a goal.)
> >
> > Thanks for your help!
> >
> > Chris
> >
> >
>
> ------------------------------
>
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> End of Callers Digest, Vol 11, Issue 10
> ***************************************
